Daisy Buchanan's Daughter, Book 1: Cadwaller's Gun (Volume by Tom Carson

By Tom Carson

She was once born in the course of the Jazz Age and grew up in Paris and the yankee Midwest after her father’s loss of life at the polo box and her mother’s later suicide. As a tender warfare reporter, she waded ashore on Omaha seashore and witnessed the liberation of Dachau. She spent the Fifties hobnobbing in Hollywood with Marlene Dietrich and Gene Kelly. She went to West Africa as an Ambassador’s spouse because the New Frontier dawned. She comforted a distraught Lyndon Baines Johnson in Washington, D.C., because the Vietnam struggle changed into a quagmire. And at the present time? at the present time, it’s June 6, 2006: Pamela Buchanan Murphy Gerson Cadwaller’s eighty-sixth birthday. With a few asperity, she’s looking forward to a congratulatory cellphone name from the President of the USA. Brother, is he ever going to get a section of her brain.

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Additional resources for Daisy Buchanan's Daughter, Book 1: Cadwaller's Gun (Volume 1)

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In the later story, Kezia is relegated to a minor role as one of a group of children participating in what is, in generic terms, clearly an episode rather than a "story," and extends her own story only in the brief scene in which, teasing with her at naptime, she tries to make her grandmother promise never to die. Whether we project the "strings" as independent horizontal strands layered as in musical polyphony, or as in the plot and subplot of novels, we are seeing the family as a multileveled system, in which the members interact with and affect one another, even as the whole system evolves.

The opening sequence is dominated by the figure " 1 , " emphasizing beginnings. The closing sequence is concerned with filtering out, according to its mathematical pattern, the early examples, and thus is dominated by the figure "5" (which has already been established as the terminal number), until finally it ends with that figure, the final fifth of the final sequence. Calvino's list of cities is much longer than anything we've examined so far, and his formal structure is the most rigid. In fighting the aesthetic dangers of formlessness, which multiply over time, Calvino takes special pains to order and shape our experience; each fifth example in the terminal section of the book functions like a period; after such an extensive list, multiple periods are needed to reinforce adequately our sense of closure.

Not impossible, that at some moment in the history of the museum our entire citizenry, by a series of overlapping impulses, will find themselves within [the Barnum Museum] For a moment the city will be deserted. Our collective attention, directed at the displays of the Barnum Museum, will cause the halls to swell with increased detail. Outside, the streets and buildings will grow vague; street corners will begin to dissolve. (80) Closure, in this situation, will necessarily involve some resolution of this tension between worlds.

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